被赞颂的支离破碎:哈罗德-品特《回家》的后现代研究哈罗德-品特《回家》的后现代研究

A. R. Abdullah Almaaroof, Zainab Mehasin
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摘要

哈罗德-品特的《回家》是一部因使用碎片化手法而备受赞誉的戏剧。该剧以其支离破碎的语言、结构以及人物支离破碎的身份和关系而著称。通过碎片化,该剧营造了一种迷失和不确定的感觉,突出了剧中人物为理清自己的经历和彼此之间的关系而进行的挣扎。哈罗德-品特被认为是 20 世纪最具影响力的英国剧作家之一。他的作品通常与二十世纪五六十年代兴起的 "荒诞派戏剧 "文学运动有关。总的来说,《回家》是一部因使用碎片化手法而闻名的剧作,这种手法营造出一种迷失感和不确定感,是该剧主题和人物的核心。该剧通过其支离破碎的语言和结构,强调了剧中人物在一个往往是压迫性和父权制的世界中为争取身份和权力而进行的斗争
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Celebrated Fragmentation: A Postmodern Study of Harold Pinter’s “The Homecoming”
Harold Pinter's "The Homecoming" is a play celebrated for its use of fragmentation. The play is known for its fragmented language, structure, and characters' fragmented identities and relationships. Through its fragmentation, the play creates a sense of disorientation and uncertainty, highlighting the characters' struggle to make sense of their experiences and relationships with each other. Harold Pinter is considered one of the most influential British playwrights of the 20th century. His work is often associated with the literary movement known as "Theatre of the Absurd," which emerged in the 1950s and 1960s. Pinter's work has been associated with a number of literary movements, including Overall, "The Homecoming" is a play celebrated for its use of fragmentation, which creates a sense of disorientation and uncertainty central to the play's themes and characters. The play emphasises the characters' struggle for identity and agency in an often oppressive and patriarchal world through its fragmented language and structure
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